Music 211: Musicianship I
Los Angeles City College
Spring 2012: Tuesdays and Thursdays, 10:35-12:00; DaVinci 309
Dr. Kevin J. Kelly
Office: DaVinci Hall 312A
Office Phone: 323-953-4000 x2889 • E-mail: email@example.com
Office Hours: M, T, W: 1:15-3:15; F: 1-2.
Prerequisites and Corequisite:
To be admitted to this course you must have completed Music 200, Introduction to
Music Theory, with a grade of C or better. If you have not completed Music 200, an
advisory test is available in the Music Office to determine if you are prepared to
enter this class.
This course is coordinated with Harmony I and Keyboard Harmony I; to take this
course, it is required that you enroll in these classes (unless already completed).
Upon entering this course you should be able to:
- Write and recognize all major and minor scales using key signatures
- Write and recognize any interval above and below a given note
- Recognize all diatonic triads in major and minor keys
- Notate and read rhythmic notation in 2/4, 3/4, 4/4, and 6/8
- Sing major and minor scales using movable do
- Demonstrate knowledge of basic music terminology
Goals: After completing this course you will be able to:
Sing simple diatonic melodies in major and minor keys (using movable do solfege)
Play and sing simple diatonic 2-part pieces
Hear, notate, and sing rhythms in all standard meters
Hear and notate simple diatonic melodies and chord progressions
Student Learning Outcome: Upon successful completion of this course, the student will
be able to demonstrate competence in the following Student Learning Outcome: Sing and
perform selected musicianship melodies and rhythms with the correct pitches and
rhythms in a reasonable tempo.
Required Materials: Bring these to every class meeting.
Anthology for Sight Singing. Karpinski. First Edition. Norton, publishers.
Harmony and Musicianship with Solfege. Cser
Pencils (not pens!) and erasers.
Music manuscript (staff) paper.
Lined notebook paper
The textbook Manual for Ear Training and Sight Singing by Karpinski is optional. I will assign
some homework from this text, but it will be available for you to read in the music office. It is
recommended, however, that you purchase this book if you can; it contains a wealth of
information that will be valuable to you and help you succeed in the course.
Attendance: It is important that you attend every meeting of this class. Missing even one class
could cause you to fall behind in your work, and it can be very difficult to catch up. If you are ill
or have a personal emergency and cannot attend a class, please call or e-mail me as soon as
possible to let me know. If you stop attending class it is your responsibility to withdraw from the
Grading: Your grade in this course will be determined by your performance on the following:
3 Performance Quizzes: 60%
Dictation Quizzes: 15%
In-Class Singing: 15%
Dictation/Listening Journal: 10%
Performance Quizzes: Early on in the semester I will divide you into “performance groups” of
2-3 students. On the days of the performance quizzes I will meet with each group individually,
testing a variety of skills that we will practice in class.
You must pass at least two of these quizzes to move on to Musicianship 2. I will allow you one
makeup attempt over the course of the semester, but you cannot make up a performance quiz if
you missed it due to an unexcused absence.
Dictation Quizzes: There will be several short dictation quizzes over the course of the semester,
closely related to the materials we are currently studying. They may be announced or
In-Class Singing: Every student will sing by themselves in class several times over the course of
the semester. These melodies will be drawn from the daily homework. The student will be
graded on pitch, intonation, rhythm and solfege.
Dictation/Listening Journal: I have assigned one dictation example for each class meeting.
These dictations can be found on the CD that accompanies the red Karpinski text. If you do not
own the book you may use the copy on my reserve in the music office. You will keep these
dictations in a notebook that I will collect at each of the performance quizzes.
Practice Rooms and Listening Lab: You must set aside adequate practice time to benefit from
this class. To use a practice room or the lab, bring your Cub Card and your college receipt to the
music office the first time you check in. The staff will assist you and inform you of the rules and
procedures and give you the hours.
Students with Disabilities: It is the policy of LACC that students with a verified disability who
may need a reasonable accommodation for this class are encouraged to notify the instructor and
contact the Office of Special Services as soon as possible. All information will remain
Note on Classroom Conduct: I promise to treat you fairly and with respect, and I ask that you
do the same for me and for your fellow classmates. Cell phones must be turned off before
entering the classroom! They are extremely disruptive in a classroom environment.
Syllabus: The letter “M” refers to melodies from the blue book. The letter “D” refers to
dictations on the CD accompanying the red book. All assignments should be prepared for the
specified class meeting.
2/7- Welcome and Syllabus. Pitch matching.
HW- Practice matching pitches. Determine and write down your singing range.
2/9- Fundamentals of meter, rhythm, and pitch. Protonotation.
HW- M: 1, 2, 4, 5; D: 1.7
2/14- Combining pitches with meter and rhythm. Error detection and correction.
HW- M: 7, 9, 11, 12; D: 2.1
2/16- More pitch, meter, and rhythm.
HW- M: 16, 20, 22, 24; D: 3.5
2/21- Notation of pitch, meter, and rhythm.
HW- M: 25-28; D: 9.2
2/23- Dictation in larger contexts.
HW- M: 30-33; D: 10.2
2/28- The fifteen major keys. Intervals. Ties and dotted notes.
HW- M: 35, 37, 40, 66; D: 12.5
3/1- Dictation and review for Performance Quiz 1.
3/6 and 3/8- Performance Quiz 1.
3/13- Skips to “re” and “ti.”
HW- M: 77, 78, 80, 87; D: 14.8
3/15- Tempo and compound meter.
HW- M: 92, 97, 101, 108; D: 16.2
3/20- Introduction to the minor mode.
HW- M: 110, 114, 115, 119; D: 17.4
3/22- Chromaticism in the minor mode.
HW- M: 138, 140, 143, 148; D: 19.1
3/27- Quadruple division of the beat in simple meters.
HW- M: 165, 171, 175, 177; D: 22.1
3/29- The dominant triad. Performance indications.
HW- M: 221, 223, 231, 233; D: 25.3
4/3 and 4/5- No Class. Spring break
4/10- Skips to “fa” and “la.”
HW- M: 274, 279, 284, 301; D: 27.5
4/12- The subdominant triad. Repeat signs.
HW- M: 327, 334, 348, 354; D: 30.3
4/17- Catch-up and dictation.
4/19- Review for Performance Quiz 2.
4/24 and 4/26- Performance Quiz 2
5/1- The dominant seventh chord in melodic contexts. Syncopation.
HW- M: 371, 379, 383, 389; D: 32.2
5/3- Bass line dictation and two-part music.
HW- M: 429, 431 (play top voice on piano while singing bass line); D: 36.1
5/8- Root position and first inversion triads. Voice leading.
HW- M: 433, 435, 437, 443; D: 37.1
5/10- Triad qualities. The leading-tone triad.
HW- M: 456, 457, 464, 477; D: 40.8
5/15- The supertonic triad.
HW- M: 487, 491, 493, 517; D: 41.10
5/17- The submediant and mediant triads.
HW- M: 530, 535, 554, 563; D: 43.9
5/22- The dominant seventh chord in harmonic contexts. Non-chord tones.
5/24- Catch-up and dictation. Review for Performance Quiz 3.
Performance Quiz 3- During the final exam period. Tuesday May 29, 9:30-11:30.